|Medium:||etching, drypoint and open bite|
|Size:||252 x 358 mm|
|Signed:||butterfly at upper left (4-5); removed (6)|
|Set/Publication:||'First Venice Set', 1880|
|No. of States:||6|
|Catalogues:||K.187; M.184; W.153|
|Impressions taken from this plate (56)|
9: 'Mr. Whistler's etchings ...', British Architect, 10 December 1880.
10: Hausberg, Margaret D., 'Whistler Etchings: New Observations' , Print Quarterly, 24, 2007, pp. 11-21.
11: F.A.S. to Whistler, 20 December 1888, GUW #01217.
Most later impressions, however, printed in the mid-1880s, were trimmed and signed on the tab by Whistler at that time. Although a few are in black ink - one on a thick, glossy, dark ivory Japan paper () and another on light weight ivory laid () - most are in dark brown ink. A high proportion of these are on watermarked laid paper, including the Strasbourg Lily over 'GR' () and Arms of Amsterdam (, , , , , ).
For several later (1887-1889) impressions, of the sixth state, Whistler reverted to black ink, printing on laid paper with a Strasbourg Lily and '1814' watermark (, , , ), and one with the Strasbourg Lily over initials, possibly 'LR' (). Two other late prints are in warm black or very dark brown ink on ivory laid paper watermarked 'Harris & McMurdo 1814' (, ).
12: Whistler to M.B. Huish, [February/August 1892], GUW #02968.
Whistler retained impressions of several states, which were in his studio on his death and bequeathed to Rosalind Birnie Philip (1873-1958), who gave one () and bequeathed others to the University of Glasgow (, ), including a cancelled impression ().